Discussion of the translation of Claire Bishop's Artificial Hells: Participatory Art and the Politics of Spectatorship

A program of the Theatrum Mundi laboratory, jointly with the School of Contemporary Spectators and Listeners

Discussion of the translation of Claire Bishop's Artificial Hells: Participatory Art and the Politics of Spectatorship (V-A-C press, 2018) into Russian.

In Artificial Hells, Claire Bishop critiques the broadly accepted the notion that participatory art is the ultimate political art, directly politicizing the action of the public. Artificial Hells (newly published in Russian) is interesting, like other discussions we have had on the archeology of reception in particular artistic practices of 20th century art (Post-dramatic Theatre by Hans-Thies Lehmann, The Aesthetics of Performativity by Erica Fisher-Lichte). Bishop's book, in contrast to Nicolas Bourriaud's Participatory Aesthetics, which is mostly likely a manifesto, conducts archaeological research on interaction (participation or participation of the public) as a device in various eras of theatrical culture, action culture and performance in the 20th century.